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#OscarsSoWhite: how Stuart Hall explains why nothing changes in Hollywood and everything is changing
Isabel Molina-Guzmán 《Critical Studies in Media Communication》2016,33(5):438-454
ABSTRACTStuart Hall’s work on culture, representation, ideology and hegemony positions Hollywood as a cultural institution informed by and informative of US social values and norms. Thus contemporary debates over Hollywood's diversity are indicative of broader social conflicts. Empirically the article examines 2014–2015 news coverage of Hollywood to question the Hollywood paradox—the lack of diversity in film/TV production yet TV’s increasing shift towards on-screen diversity. It maps three discursive frames: Hollywood exceptionalism, economic imperatives, and institutionalized racism and sexism. The article concludes by using Hulu’s East Los High to reflect on TV’s digital turn and innovative models in production and representation. 相似文献
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Fiona Nicoll 《传播与批判/文化研究》2013,10(4):385-405
Regulatory distinctions between “problem” and “recreational” gambling have contributed to the neglect of important discursive and cultural practices at the intersection of finance and gambling. This intersection is now sufficiently formative of everyday life and popular culture to warrant closer scrutiny within cultural studies research. Through a range of examples, I elaborate the concept of “finopower” as a specific kind of governmentality through which individuals negotiate the mutual imbrications of gambling and finance. The final part of the article draws on theories of “post-disciplinary” societies to explore social and political implications of cultural distinctions between skill and chance-based games. 相似文献
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Bill Yousman 《传播与批判/文化研究》2013,10(3):265-284
In this essay I analyze the HBO prison drama Oz as a cultural artifact of the current era of rampant incarceration. I argue that Oz's hyperviolent spectacle legitimizes both the expansion of the prison–industrial complex and the continuing prevalence of inhumane prison environments. I also contend that Oz's framing of race and class within a violent spectacle functions as a justification of discriminatory criminal justice practices. 相似文献
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As the character of aesthetic experience becomes more complex and multi‐faceted, exhibitions become interfaces that actively mediate between physical and invisible realities. Challenging more conventional forms of exhibition‐making, this situation becomes exaggerated when producing affective exhibition experiences in non‐conventional event‐structures and site‐specific contexts. This article explores how digital mediation and spatial practice can be productively integrated into new program architectures, specifically the type of civic media spectacles associated with the cultural phenomenon of the White Night or Nuit Blanche. The co‐authors engage with the social and cultural dynamics of such “performance spectacles” through the twin perspectives of curator and exhibition designer, which informed the realization of exUrbanScreens, an image‐based arts and new media festival that operated as a multi‐site, distributed nocturnal event. Practice‐based insights give perspective on audience participation in this type of exhibition event and the social dynamics of civic engagement in this particular form of program architecture. 相似文献
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This introductory article to the combined special issue of Journalism Studies and Journalism Practice provides an overview of some of the key contemporary approaches to studying journalism and social order. It argues the need to step beyond a functionalist framework when considering the news media’s central role in shaping social connections, community and cohesion. To advance our understandings of social order, our paper suggests a greater emphasis of the significance of journalism’s relationship to the wider social sphere along with three other key considerations, including (1) a critical focus on the relationship between media, politics and social order, especially in defining and/or negotiating “anti-social” practices and social disintegration; (2) a more refined focus on the “imagined” and geographic boundaries of news audiences in digital spaces; and (3) the changing relationship to norms and conventions of journalism practice from trust and legitimacy to the role of journalists as arbiters and connectors across social spaces. 相似文献
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Zhuo Ban 《Journal of Applied Communication Research》2018,46(4):409-428
Guided by the practical question, ‘What is a fair wage?’, this paper takes a culture-centered approach to the discursive construction of a fair wage in the context of industrialized labor. Specifically, this study juxtaposes discursive constructions within (a) corporate social responsibility (CSR) communications concerning wage policies and practices and (b) industrial workers’ narratives about their experiences with wages. Thus, I demonstrate a mutually constitutive process in which the meaning of ‘fair wage’ results from and reifies the structures of supply chain labor. Specifically, I explore how wage fairness is understood in the context of legal and government mandates, international organizations’ recommendations, and the issue of labor sustainability. The culture-centered emphasis of the study explores the possibility of bringing alternative voices to mainstream articulations of labor rights. 相似文献
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Casey Brienza 《Publishing Research Quarterly》2017,33(4):373-379
In this paper, I will argue for key role played by the global culture of comics, of which the French publication Charlie Hebdo is but one small part, in the development and aftermath of the Paris terrorist attacks of 2015. I begin by exploring and elucidating this culture of comics that exists across France and other comic book producing nations and its associations with youthful rebellion, anarchy, and, more recently, misrecognized privilege and bigotry. A sociological perspective on the cultural history and practice of comics publishing through the twentieth and twenty-first centuries adds important context to the Je Suis Charlie movement and its place in the public discourse—while also further problematizing it. 相似文献
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Erika L. Kirby 《Communication Teacher》2016,30(3):172-178
ABSTRACTCourses: Communication and Diversity, Intercultural Communication, Gender CommunicationObjectives: After completing this semester-long activity, students should be able to (1) articulate a systems-of-oppression (privilege←→oppression) approach to thinking about difference; (2) confront and “interact differently” with one social identity category where they have privilege; and (3) explain the corresponding form of oppression at individual, institutional, and societal/cultural levels. 相似文献
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Kate Moomaw 《文物保护研究》2016,61(3):130-136
Participatory art is a contemporary movement requiring viewers to take an active part in the artwork, by means ranging from interaction with materials to creative contribution. Artistic developments in the twentieth and twenty-first centuries, such as political and social engagement, led to the rise of participatory practices. Concurrently, museums have reacted to falling attendance and cultural shifts by seeking to create more engaging experiences for visitors. At the Denver Art Museum, this has led to an increased interest in displaying and collecting participatory art. Through case studies of works in the collection of the Denver Art Museum, Walking in Venus Blue Cave (2001) by Ernesto Neto and ¿Being Home? (2009) by Rupprecht Matthies, this paper explores the conservation of participatory artworks in museum collections, including their maintenance on display, long-term preservation of their interactive nature, and the possibility of involving communities in conservation actions and decision-making. 相似文献
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Cultural storytellers such as journalists play a meaningful role in shaping how adults think about the role that social media play in teenagers’ lives. To better assess what adults might be learning, we employed a critical, qualitative approach to examine how contemporary news media constructed cultural understandings of teens’ relationship with social media. Our analysis of 339 print and online news articles from 2013–2014 found that the news media constructed a mediated reality that placed dysfunction as the defining characteristic of teens’ relationship with social media. The news articles consistently positioned teenagers and social media as at odds with one another, entwined in an unhealthy, frequently dangerous union. Discussions of the self-expressive, creative, and communicative practices of teen social media users were undermined or absent altogether. Altogether, the coverage created a mediated reality that denied teenage agency and obscured the diversity of teenagers’ experiences and social media practices. 相似文献
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Carolyn Michelle 《The Communication Review》2013,16(3):181-222
Drawing on a synthesis of existing models of reception and findings from audience research, this article outlines a conceptual framework for the (meta)analysis of existing and new reception data which delineates four primary modes of viewer interpretation and response: transparent, referential, mediated, and discursive. I argue that the adoption of this consolidated analytical framework may facilitate a more systematic investigation into how viewers' interpretations are shaped by social group memberships, cultural competencies, and discursive affiliations. 相似文献
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ABSTRACT As a progressive intervention into patriarchy, feminism has traditionally centered (white) women's experience, yet when sex and gender are combined with race, feminism tends to lose its progressive edge. We argue that (white) feminism ideologically grounds itself in a gendered victimology that masks its participation and functionality in white supremacy. By erasing women of color, positioning women as victims of white male hegemony, and failing to hold white women accountable for the production and reproduction of white supremacy, (white) feminism manifests its allegiance to whiteness and in doing so commits “discursive violence”. We end with calling for ideological intersectionality as a possible corrective. 相似文献
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ABSTRACT The authors deploy a critical cultural critique that extends the work of monstrosity scholars and other researchers who are interested in the application of zombie apocalypse analyses to critiques of contemporary nationalistic and social controversies. World War Z sets in motion a series of cinematic dynamics that invite audiences to consider how Israeli securitization of Jerusalem might serve as the world's best hope for containing the zombie apocalypse. By decoding the “monstering” features World War Z, the authors note the heuristic value of understanding how the rhetoric of autoimmunity influences mediated perceptions of Israeli and Palestinian conflicts. 相似文献
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Jessica Bushey 《档案与原稿》2014,42(1):33-47
The recent convergence of digital cameras into mobile phones with Internet connectivity has provided the opportunity for individuals and organisations to adopt new image-making practices. The widespread use of photo-sharing and social networking platforms for sharing, accessing and storing digital photographs is presenting scholars in the social sciences with new areas of research that address the nature of digital photography. By examining the technological, social and cultural factors involved in contemporary image-making practices, scholars are presenting new concepts regarding the characteristics of digital photographs that impact archival activities aimed at managing and preserving trustworthy digital records. This article identifies and discusses the key concepts emerging from social science research on digital photography that are most relevant to the archival field. Analysis of the findings of these studies suggests that new technologies and social practices are changing how people use digital photographs and their expectations of permanence. Therefore, archivists need to be engaged in interdisciplinary discussions regarding the evolution of photographic practices and emerging characteristics of digital photographs in order to anticipate the management and preservation activities required to protect contemporary visual records for future use. 相似文献
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ABSTRACT In 2017, the #MeToo movement swept across social media, making the pervasiveness of sexual assault visible to millions. People shared hashtags and stories often only told in intimate settings on a variety of platforms, exposing this issue to the multitudes. At its core, the #MeToo movement was a consciousness-raising effort, but it was occurring in a new mediascape that dramatically altered its spread, force, and impact. This paper examines #MeToo as it unfolded across wild public networks and, in doing so, resisted contemporary image practices, transformed the rhetor into what we term a rhizomatically networked collective, and expanded audiences. 相似文献
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Laurena Bernabo 《广播与电子媒介杂志》2019,63(1):77-93
Twitter updates and expands television’s cultural forum model by letting viewers speak to current events such as the Black Live Matter (BLM) movement. This article analyzes 1,985 tweets in response to three television episodes (Law & Order: SVU, The Good Wife, and Scandal) that dramatized BLM, and identifies five common themes in how viewers address these representations: thematic appropriateness, timing, producers’ qualifications, institutional critiques, and the purpose of entertainment television. This study concludes that Twitter facilitates a meta-commentary, which expands traditional discussions of entertainment programming, and that these programs transcend “mere” entertainment to become critiques of larger social movements. 相似文献
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Heikki Heikkilä 《Journalism Practice》2015,9(1):50-64
The media-saturated nature of everyday life is well acknowledged in current audience research, but the role of journalism for people living in this digitalised environment remains less clear. To provide a better understanding of the role of journalism and news in everyday life, this article states the case for combining two complementary analytical perspectives in cultural audience research that draw on the framework of practice theory. We need to focus on both interpersonal communication practices within social networks and on discursive practices and patterns of how people use the media. Empirically, this article draws on an extensive audience study conducted in Finland, whose findings provide a cause for moderate optimism regarding the sustaining relevance of journalism in people's everyday life in the digital era. Firstly, social networks—both offline and online—constitute a vital structure within which the output of journalism is rendered meaningful by users. Secondly, the discursive practices applied by the participants emphasise the importance of news as a central means of orientation to society and making sense of the political nature of the public world. However, much of this potential remains unknown to journalists because users' activities occur at a distance from journalism and political institutions, which poses a challenge to digital journalism. 相似文献
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As Colombia began to develop its Intangible Cultural Heritage (ICH) policy, it signed an agreement with the Smithsonian Center for Folklife and Cultural Heritage to collaborate on a Smithsonian Folklife Festival of Colombia's national living traditions, to be shown on the National Mall in 2011. This essay addresses the role of the Smithsonian Folklife Center in advocating for a cultural heritage policy grounded in cultural democracy and intercultural dialogue, as well as its collaboration with UNESCO in crafting the 2003 convention for the protection of intangible cultural heritage. We focus on the Center's signature collaborative program, the Smithsonian Folklife Festival, and on our experience with the 2011 Festival program, Colombia: The Nature of Culture. We examine the relationship between the Festival and Colombia's intangible cultural heritage communities, policies, and practices, through intercultural dialogues that contribute to shaping Intangible Cultural Heritage policy from the bottom up. 相似文献
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This article explores how documentary film practice and visual storytelling can be used to help portray Qatari women's narratives, even though many are prohibited by cultural norms from appearing in visual media. We investigate which communication and media practices can provide a work-around, ensuring that women's stories and testimonies are documented. We also explore whether Qatar's social and cultural restrictions result in a form of “symbolic annihilation” for Qatari women, as articulated by Gaye Tuchman, and how this impacts Qatari women's position and visibility in local society. 相似文献